Bergan was inclined to be somewhat silent, at first. Lonely dweller in offices, hotels, and restaurants, that he had been, for the year past, he had half lost the habit of conversation; besides, Coralie's tones continually swept the chords of association in a way to thrill him with a sombre mixture of pain and pleasure, and keep his mind confusedly vibrating between the present and the past. But he was too conscientiously courteous to allow himself long to remain a dead weight upon his hosts; and, though it cost him an effort, he was soon talking with the old ease and fluency, enriched by a profounder thoughtfulness, and a subtler play of imagination. In his hands, commonplace subjects discovered hidden treasures; while loftier themes gleamed and glowed like stained windows seen against a golden western sky. Miss Thane lost something of her apathetic manner, after awhile, and paid him the compliment of listening with attention, if not with interest. And opposite to him was Coralie's listening, speaking face, full of such quick comprehension and sympathy, that he could scarcely help being beguiled into a fuller, freer expression of thought, opinion, and feeling, than he would have believed possible, an hour before.
But was it not Miss Thane's subtle management, rather than Coralie's sympathy, which finally led the talk into the sombre channels dug by human disappointments, losses, and failures, and kept it there until they had returned to the drawing-room? Then Bergan said, by way of dismissing the subject:—"But all these things are to be looked at as materials, not results. Happy the prophetic vision which sees the perfect form of the Future rising from the chaos of past and present!—as a sculptor sees before him, not a rough block of marble, but the finished statue,—an architect, not shapeless heaps of stone and mortar, but the grand completed temple."
"Let him but look far enough," rejoined Miss Thane, "and he can behold a sadder phase,—the statue broken and defaced, the temple overthrown and prostrate; once more a rough block of marble, and shapeless heaps of stone."
"Nay," replied Bergan, "it is at that very point that Prophecy should spread her whitest wings, and soar to the temple not made with hands, and the jewelled walls of the city let down from the clouds. Miss Coralie," he continued, glancing at the open piano, "do you sing?"
"Not much; I play mostly. But Miss Thane does. Dear Diva, won't you sing for us?"
Miss Thane looked at Bergan, but he said nothing. If he had added a word to Coralie's entreaty, the chances are that she would not have sung. But since she had only Coralie to oblige—Coralie, who alone seemed to have found the deep way to her heart, and to whom she rarely refused anything—she went straight to the piano, took the first music that presented itself, which happened to be Rossini's "Cujus Animam," and began to sing, not only with perfect method—that might have been expected—but with exquisite feeling. Her voice was a rich contralto, deep and broad as a river flowing to the sea, and bearing the listener whither it pleased. There were tears in the eyes of her auditors, when she had finished, and would have been, doubtless, had she sung anything else, for the quality of her voice touched that point of perfection, which, in this world, gives a pleasure closely akin to pain.
She waited a moment, but no one spoke; then she put her fingers again on the keys, and, looking far out into the evening dusk, sang a dismal, hopeless dirge, which Bergan felt intuitively to be her own; and which wrung his heart with passionate longing and pain. She would sing no more.
Yet no one could talk after those heartbreaking strains. So Bergan quietly took his leave.
Coralie wound her arm round her friend's waist, and drew her to the window, to watch him down the street. "What do you think of him?" she asked.
"I think—that he has a genius for conversation," replied Miss Thane, coolly.